Thomas A. Burritt Associate Professor of Percussion
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Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies. -
Edition 2 | 2018-2019
Terra Nova San Antonio 6983 Blanco Rd San Antonio, TX 78216 Ph: 210-349-4700 Fax: 210-349-4725 Terra Nova Austin 7795 Burnet Rd Austin, TX 78757 Ph: 512-640-4072 Fax: 512-879-6853 www.TerraNovaViolins.com Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem 2 AustinChamberMusic.org / 512.454.0026 AustinChamberMusic.org / 512.454.0026 3 Welcome to the 2018-2019 Concert Season: Landscapes 4 AustinChamberMusic.org / 512.454.0026 PERFORMANCES FRIDAY INTIMATE SEASON CONCERTS An up-close and personal setting for chamber music About ACMC in stylish Austin homes with post-concert reception. SATURDAY SYNCHRONISM SEASON CONCERTS MISSION Chamber music in public venues in tandem with The Austin Chamber Music Center (ACMC) is Intimate Concert performances. dedicated to serving Central Texans by expanding A CHARLIE BROWN CHRISTMAS knowledge, understanding, and appreciation of An annual holiday concert featuring all of your favorite chamber music through the highest quality instruction tunes from the TV classic. and performance. AUSTIN CHAMBER MUSIC FESTIVAL Featuring over 30 performances by internationally EDUCATION acclaimed local and visiting artists over three weeks. OPPORTUNITIES for musicians of all ages and A MOVEABLE FEAST CONCERT SERIES skill levels, including a Chamber Academy and A bi-annual series of adventurous programming ChamberFlex in the academic year, and an combining diverse music, visual art, cuisine, and a intensive Summer Workshop. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
The 23Rd Annual Music Festival at Walnut Hill 胡桃山音樂營 July 24
The 23rd Annual Music Festival at Walnut Hill 胡桃山音樂營 July 24 – August 17, 2014 Boston, Massachusetts, USA Organized by Foundation for Chinese Performing Arts 3 Partridge Lane, Lincoln, MA 01773, USA Tel: 781-259-8195 Email: [email protected] Website: www.ChinesePerformingArts.net APPLICATION DATES: July 24, 2014 (check in) – August 17, 2014 (check out) LOCATION: Walnut Hill School, 12 Highland St.,Natick, MA 01760. About 15 miles west of Boston, Massachusetts. www.WalnutHillArts.org DEADLINE FOR APPLICATION April 10, 2014 Submit with a non-refundable fee of US$70. Late applications will be considered depending upon space availability. AGE AND ENROLLMENT: Age 14 or above. Total enrollment 40 students. No upper age limit. Special arrangement is required for applicant younger than 13. PROGRAM: . Two to Three private lessons per week for piano, violin, viola, cello, double bass, flute, clarinet, oboe, saxophone, trombone, voice, composition, and others (upon request). Chamber Ensembles . Orchestral Performances . Master Classes and Workshops . Stage presentation workshop . Concerts with faculty members and students . Attending concert at Tanglewood Music Center, visiting Norman Rockwell Museum, shopping in towns of the Berkshires . Visits to New England Conservatory, Harvard University, Museum of Fine Arts, and other historical sites in the metropolitan Boston area . English is the official language. Chinese translator available for the first week only if needed AUDITION Live audition and/or DVD audition is required for all applicants except students recommended by faculty members. Returning students should contact Director Dr. Catherine Chan for waving the audition. Application forms and fees are required for all applicants including returning students. Each applicant should prepare at least two contrasting pieces or two contrasting movements of the same piece of his/her own choice that will represent his/her musical level and achievement. -
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito. -
Guest Artists 2009-10 : School of Music : Texas State University
School of Music Guest Artists 2009-10 Texas State School of Music maintains a faculty of 70 outstanding musicians/scholars/teachers. That makes it an extraordinary bonus that so many leading professionals come to the campus each year to add to the artistic mix, giving guest recitals, master classes, and lectures. Below is just a sample of this amazing array of expert guests. 2009-2010 Dr. David Littrell guest clinician with Symphony Orchestra Monday, January 25, 2010, 2:00-4:00 pm in MUS 224 Served as national President of the American String Teachers Association in 2002-2004. conducts the University Orchestra and teaches strings at Kansas State University conducts the “Gold Orchestra”, 58 Manhattan KS area string students in grades 5-10. The “Gold Orchestra” toured England in 1997, Seattle and British Columbia in 1999, and performed at Carnegie Hall in 2001 and 2006. They performed at the ASTA National Orchestra Festival in Dallas in March 2004. served six years as Editor of the Books and Music Reviews section of the American String Teacher; editor of ASTA’s two-volume String Syllabus Dr. David Littrell Editor and Compiler of GIA Publications’ two volumes of Teaching Music through Performance in Orchestra Bob Mintzer Bob Mintzer debuts and performs a new Big Band composition commissioned by Texas State Jazz for the Hill Country Jazz Festival Saturday, February 6. Bob also appears as guest artist with the Hehmsoth Project at the Elephant Jazz Club, Austin, Friday, February 5, 9:30PM. In the jazz world Bob Mintzer is a household name, usually associated with being a saxophonist, bass clarinetist, composer, arranger, leader of a Grammy winning big band, member of the Yellowjackets, and educator. -
7Pm Apexart:291 Church Street, New York, NY
Come Together (NYC) Apexart asked me to be a part of a show called Maurizio Couldn’t Be Here. For five weeks in February and March the gallery is hosting a different performance related project each week. I came up with an idea for the first week. What I decided to do is organize an all day lecture program com- posed of 26 people who will each lecture for ten minutes a piece. The entire event will be video taped and shown as a projection in the gallery the following week. I asked 26 people who I knew or who knew someone I knew to select someone else to do one of the ten minute lectures. The selectors supplied info about the lectures for this publica- tion and will introduce their lecturers at the event. The only requirements I had for the people doing lectures was that they didn’t ordinarily go to Apexart and that the topic that they chose to lecture on was not directly related to contem- porary visual art. Otherwise the lecturer could be anyone in the NYC area and the lecture topics were totally open. The lectures will be presented in the following order beginning at 11 am and ending at 7 pm on Saturday, February 12th at the gallery. There will be periodic breaks and snacks pro- vided. The public is invited to attend the entire eight hour event, but can feel free to come and go between lectures. – Harrell Fletcher 26 ten minute lectures by 26 different people Saturday, February 12, 2005 11am – 7pm Apexart: 291 Church Street, New York, NY 2 Presentation On The Kemetic Orthodox Religion Josh Kline will lecture about The Kemetic Orthodox Church which he feels is one of the most interesting new religions in America today. -
Foundation for Chinese Performing Arts 中華表演藝術基金會
中華表演藝術基金會 FOUNDATION FOR CHINESE PERFORMING ARTS [email protected] www.ChinesePerformingArts.net The Foundation for Chinese Performing Arts, is a non-profit organization registered in the Commonwealth of Massachusetts in January, 1989. The main objectives of the Foundation are: * To enhance the understanding and the appreciation of Eastern heritage through music and performing arts. * To promote Asian musicians and performing arts through performances. * To provide opportunities and assistance to young Asian artists. The Founder and the President is Dr. Catherine Tan Chan 譚嘉陵. AWARDS AND SCHOLARSHIPS The Foundation held its official opening ceremony on September 23, 1989, at the Rivers School in Weston. Professor Chou Wen-Chung 周文中 of Columbia University lectured on the late Alexander Tcherepnin and his contribution in promoting Chinese music. The Tcherepnin Society, represented by the late Madame Ming Tcherepnin, an Honorable Board Member of the Foundation, donated to the Harvard Yenching Library a set of original musical manuscripts composed by Alexander Tcherepnin and his student, Chiang Wen-Yeh. Dr. Eugene Wu, Director of the Harvard Yenching Library, was there to receive the gift that includes the original orchestra score of the National Anthem of the Republic of China commissioned in 1937 to Alexander Tcherepnin by the Chinese government. The Foundation awarded Ms. Wha Kyung Byun as the outstanding music educator. In early December 1989, the Foundation, recognized Professor Sylvia Shue-Tee Lee 李淑德 for her contribution in educating young violinists. The recipients of the Foundation's artist scholarship award were: 1989 Jindong Cai 蔡金冬, MM conductor ,New England Conservatory, NEC (conductor and Associate Professor of Music, Stanford University, and currently the director of the US-China Music Institute and professor of music and arts at Bard College.). -
Guest Recital: Bion Tsang, Violoncello Bion Tsang
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 1-31-1991 Guest Recital: Bion Tsang, violoncello Bion Tsang Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Tsang, Bion, "Guest Recital: Bion Tsang, violoncello" (1991). All Concert & Recital Programs. 5477. https://digitalcommons.ithaca.edu/music_programs/5477 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College ITHACA School of Music Presented in cooperation with the ITIIACA VIOLONCELLO INSTITUTE GUEST RECITAL Bion Tsang, violoncello Richard Bishop, piano SONATA in A Minor, "Arpeggione", D. 821 Franz Schubert (1797-1828) Allegro moderato Adagio - Allegretto FOR CELLO SOLO (1986) Leon Kirchner (b. 1919) INIBRMISSION SONATA INC MAJOR, op. 65 Benjamin Britten (1913-1976) Dialogo: Allegro Scherzo - Pizzicato; Allegretto Elegia: Lento Marcia: Energico Moto Perpetuo: Presto ADAGIO AND ALLEGRO, op. 70 Robert Schumann (1810-1856) Walter Ford Hall Auditorium Thursday, January 31, 1991 8:15 p.m. Bion Tsang performs on the same instrument he took to the Tschaikovsk:>1 Competition, a Giovanni Gracino cello made in Milan, Italy in 1705, which is graciously on loan from the EINAR HOLM COLLECTION, Ithaca College. A CELLO MASTER CLASS will be given by Mr. Tsang on Friday, February I at 4:00 p.m. in the Nabenhauer Recital Room. Richard Bishop is a pianist of many facets: soloist, duo-recitalist, chamber musician, teacher and coach. -
WMMC - Member Highlight - Virginia Kneisner
NNoottee WWoorrtthhyy A publication of The Wednesday Morning Music Club (Austin) Website: musicclubaustin.org Oct. 19, 2016 WMMC - Member Highlight - Virginia Kneisner My father and mother played violin. They bought me a concertina as my first musical instrument. It came with an instruction booklet. I learned to play it while I was in Our Lady of Angels Catholic elementary school in Cleveland, Ohio. At 9 years of age I started studying the piano on my next-door neighbor’s piano. I was her only student. The trombone and string bass were two instruments I learned to play in high school. I played string bass in the St. Joseph’s Academy orchestra, and trombone in the Cleveland Catholic Diocesan High School Orchestra. I also played piano in the diocesan high school piano trio. I took music theory and solfege lessons from Starling Cumberworth at the Cleveland Music School Settlement and music composition lessons from Rudolph Bubalo, President of the Cleveland Composers’ Guild. I spent the summer of my sophomore year studying piano and trombone at a high school music camp at Bowling Green State University. The summer of my junior year in high school was spent studying music theory at the Chautauqua Institution in New York. I enjoyed playing the trombone, and played it in the Kent State University marching band. I entered the School of Music with a four-year music scholarship, and worked in the music library part-time. I did music outreach at a mental health and retardation facility. I joined the Delta Omicron music fraternity while at K.S.U. -
Developing the 21St Century Musician: a Case Study of Applied Tuba And
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 3-18-2019 Developing the 21st Century Musician: A Case Study of Applied Tuba and Euphonium Studio Models at American Universities Chasse Benjamin Duplantis Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons Recommended Citation Duplantis, Chasse Benjamin, "Developing the 21st Century Musician: A Case Study of Applied Tuba and Euphonium Studio Models at American Universities" (2019). LSU Doctoral Dissertations. 4834. https://digitalcommons.lsu.edu/gradschool_dissertations/4834 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DEVELOPING THE 21ST CENTURY MUSICIAN: A CASE STUDY OF APPLIED TUBA AND EUPHONIUM STUDIO MODELS AT AMERICAN UNIVERSITIES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Chasse Benjamin Duplantis B.M.E, Southeastern Louisiana University, 2010 M.M., Louisiana State University, 2012 May 2019 ACKNOWLEDGEMENTS I would like to thank my major professor, Dr. Joseph Skillen, for his mentorship and guidance through not only this document, but through two graduate degrees here at Louisiana State University. I would also like to thank Laura Warren, Brandon, Mallory, Katherine, Greg, and Matthew for their unwavering support and love throughout this entire process.